PERFORMANCES
CHARLEY FRIEDMAN PERFORMANCES 1 1/2 hour performance
”Bitzalel Friedemann: Docent guided tour of Sheldon Museum of Art”
2013
1 1/2 hour performance

Preparing to play Bitzalel Friedemann, I grew my beard. Besides a methodical tour, Bitzalel hung Mezuzahs; koshered the museum and sang Shabbat Kiddush. The audience was informed that the world Jewry would be moving to Nebraska where they would use the “Art Temple” as their new religious Temple. Jews would even have an “option to buy” the building in their leasing agreement. As the tour finished in the empty gallery, I turned back into Charley being surrounded by home furniture, my wife and daughter. Effectively, the museum was de-sanitized from art to religious sanctuary to home and finally to a gathering where the audience danced through the modernist museum eating a freshly cooked chicken.
CHARLEY FRIEDMAN PERFORMANCES 1 1/2 hour performance
”Bitzalel Friedemann: Docent guided tour of Sheldon Museum of Art”
2013
1 1/2 hour performance

Preparing to play Bitzalel Friedemann, I grew my beard. Besides a methodical tour, Bitzalel hung Mezuzahs; koshered the museum and sang Shabbat Kiddush. The audience was informed that the world Jewry would be moving to Nebraska where they would use the “Art Temple” as their new religious Temple. Jews would even have an “option to buy” the building in their leasing agreement. As the tour finished in the empty gallery, I turned back into Charley being surrounded by home furniture, my wife and daughter. Effectively, the museum was de-sanitized from art to religious sanctuary to home and finally to a gathering where the audience danced through the modernist museum eating a freshly cooked chicken.

CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance

Ms. Geffen, wearing fake hips and a wig presented two new art pieces she acquired for the museum. I invented two fictitious pieces: One by Tino Sehgal and the other by Italian Fluxes artist, Gino De Dominicis. Sehgal’s piece was called "Paper Airplanes". Ms. Geffen explained to her audience how they would be integral to the production of the piece as “interpreters”. In essence, the audience was in charge of making the piece of art that the museum would then invoice to Marion Goodman Gallery. The end result would be to produce as many paper airplanes as possible and conclude by having them all thrown in unison off the museum balcony. Each plane cost $1000.00 so Ms. Geffen’s commission was ostensibly 15% of the total amount produced. Daniel Veneciano, the director, was then handed an invoice from Marion Goodman gallery that he signed as a document.

In the final gallery I presented Gino De Dominicis “Giant Invisible Cube”. For 3 million dollars, Ms. Geffen purchased this legendary sculpture for the Sheldon and together the audience moved and re-installed the piece. As the image shows, Ms Geffen and the audience gathered around the perimeter of the invisible sculpture, approximately a 10’ x 20’ square and slowly picked up the weightless behemoth as in a séance.
CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance

CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance
"Paper Airplanes"

Ms. Geffen, wearing fake hips and a wig presented two new art pieces she acquired for the museum. I invented two fictitious pieces: One by Tino Sehgal and the other by Italian Fluxes artist, Gino De Dominicis. Sehgal’s piece was called "Paper Airplanes". Ms. Geffen explained to her audience how they would be integral to the production of the piece as “interpreters”. In essence, the audience was in charge of making the piece of art that the museum would then invoice to Marion Goodman Gallery. The end result would be to produce as many paper airplanes as possible and conclude by having them all thrown in unison off the museum balcony. Each plane cost $1000.00 so Ms. Geffen’s commission was ostensibly 15% of the total amount produced. Daniel Veneciano, the director, was then handed an invoice from Marion Goodman gallery that he signed as a document.
CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance
"Paper Airplanes"

Ms. Geffen, wearing fake hips and a wig presented two new art pieces she acquired for the museum. I invented two fictitious pieces: One by Tino Sehgal and the other by Italian Fluxes artist, Gino De Dominicis. Sehgal’s piece was called "Paper Airplanes". Ms. Geffen explained to her audience how they would be integral to the production of the piece as “interpreters”. In essence, the audience was in charge of making the piece of art that the museum would then invoice to Marion Goodman Gallery. The end result would be to produce as many paper airplanes as possible and conclude by having them all thrown in unison off the museum balcony. Each plane cost $1000.00 so Ms. Geffen’s commission was ostensibly 15% of the total amount produced. Daniel Veneciano, the director, was then handed an invoice from Marion Goodman gallery that he signed as a document.

CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance
"Giant Invisible Cube"

In the final gallery I presented Gino De Dominicis “Giant Invisible Cube”. For 3 million dollars, Ms. Geffen purchased this legendary sculpture for the Sheldon and together the audience moved and re-installed the piece. As the image shows, Ms Geffen and the audience gathered around the perimeter of the invisible sculpture, approximately a 10’ x 20’ square and slowly picked up the weightless behemoth as in a séance.
CHARLEY FRIEDMAN PERFORMANCES 1 hour performance
“Betsey Geffen: Docent guided tour of Sheldon Museum of Art”
2013
1 hour performance
"Giant Invisible Cube"

In the final gallery I presented Gino De Dominicis “Giant Invisible Cube”. For 3 million dollars, Ms. Geffen purchased this legendary sculpture for the Sheldon and together the audience moved and re-installed the piece. As the image shows, Ms Geffen and the audience gathered around the perimeter of the invisible sculpture, approximately a 10’ x 20’ square and slowly picked up the weightless behemoth as in a séance.

CHARLEY FRIEDMAN PERFORMANCES Jack Tilton & Betsey Geffen
BETSEY GEFFEN, DEALER
2001
Jack Tilton & Betsey Geffen

Miss Geffen represents the artist,
C. Friedman. I brought my artwork into Jack Tilton Gallery and attempted to sell Mr. Friedman's pieces.
CHARLEY FRIEDMAN PERFORMANCES
BETSEY GEFFEN

CHARLEY FRIEDMAN PERFORMANCES Adenoid: an alter ego idish-type character.
FELIX, FLOWERS, FLAGS & POEMS
2001
Adenoid: an alter ego idish-type character.

On Valentines Day I sold authentic Torres Candy, personalized love poems, flags and plastic flowers the entire afternoon.
CHARLEY FRIEDMAN PERFORMANCES The Adenoid
FELIX, FLOWERS, FLAGS & POEMS
2001
The Adenoid

CLICK FOR FULL VIDEO

CHARLEY FRIEDMAN PERFORMANCES
GRAPEFRUIT PIECE AS ADENOID
2000

The Adenoid did a rendition of "Grapefruit Piece" at Jack Tilton Gallery.
**check videos
CHARLEY FRIEDMAN PERFORMANCES
GRAPEFRUIT PIECE AS ADENOID

CHARLEY FRIEDMAN PERFORMANCES
GRAPEFRUIT PIECE AS ADENOID
CHARLEY FRIEDMAN PERFORMANCES Betsey Geffen: Tour at Sarah Meltzer Gallery

Betsey Geffen: Tour at Sarah Meltzer Gallery
Summer 2007

Betsey accidentally gave an informational tour of the group show "Ceci n'est pas…" at Meltzer thinking it was the Andrea Rosen show on German Kinetic Sculpture from 1950-60

CHARLEY FRIEDMAN PERFORMANCES

CHARLEY FRIEDMAN PERFORMANCES


CHARLEY FRIEDMAN PERFORMANCES

CHARLEY FRIEDMAN PERFORMANCES


CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

Performing as my alter ego "The Adenoid", I took the audience through a brief history of performance art, holding up images of artists and describing their aesthetic and role in art history. I chose artists based on difference subcategories within the discipline of performance art. I then invited audience participation to recreate some of these key pieces.
CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

The Adenoid discusses the relevance of Clifford Owens.
CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

The Adenoid talking about the importance of Patty Chang.

CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

Audience member recreation of Marina Abromovic's MoMA performance, "The Artist is Present".
CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

Re-enacting Marina Abromovic's MoMA perfomance, "The Artist is Present" with a puppet of the Adenoid.

CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

Audience members dress up as though they are members of the Adenoid's family: Father Adenoid, Baby Adenoid, and Mommy Adenoid. They re-enact a scene as though they are a prime-time sitcom.
CHARLEY FRIEDMAN PERFORMANCES
"A Brief History of Performance Art"
2013

Audience members dress up as though they are members of the Adenoid's family: Father Adenoid, Baby Adenoid, and Mommy Adenoid. They re-enact a scene as though they are a prime-time sitcom.

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